Automatically translated from Basque, translation may contain errors. More information here. Elhuyarren itzultzaile automatikoaren logoa

Memorizatzaileak, pirata eta kortsario

Pedro Calderón de la Barcaren La vida es sueño antzezlanaren lehen edizio inprimatua, 1636koa, antzezlana estreinatu eta hurrengo urtekoa. Ordurako, ordea, antzezlanaren hainbat kopia pirata salgai zeuden kalean.
Pedro Calderón de la Barcaren La vida es sueño antzezlanaren lehen edizio inprimatua, 1636koa, antzezlana estreinatu eta hurrengo urtekoa. Ordurako, ordea, antzezlanaren hainbat kopia pirata salgai zeuden kalean.Espainiako Liburutegi nazionala.

Madril, 1635. Calderón de la Barca idazlearen La vida es sueño antzezlan ezaguna estreinatu zen. Lehen emanaldien arrakasta medio, hurrengo urtean, 1636an, obraren lehen bi edizio inprimatuak merkaturatu ziren. Baina ordurako antzezlanaren eskuz idatziriko hainbat kopia pirata kalean zeuden. Kopia horiek memorizatzaileek idazten zituzten, beste bizibiderik ezean antzezlanetara behin eta berriro joan, obraren ahalik eta bertsio osoena jaso eta kopiak kalean saldu ohi zituzten lizentziadunek. Eta jatorrizko bertsioak liburugileengana iritsi baino lehen salgai izatea lortzen bazuten, merkatu beltzeko salmentek nabarmen egiten zuten hobera.

Calderón ez zen pirateriaren biktima bakarra izan; beste antzerkigile batzuk ere, Molière edo Lope de Vega esaterako, kexu izan ziren memorizatzaileen lanaz. Lope de Vegaren hitzetan: “Nire lanak kopiatzen badituzte, gutxienez ondo kopia ditzatela”. Izan ere, ohikoa zen kopiak oso kalitate txarrekoak izatea. Esaterako, La vida es sueño 3.000 bertso inguruk osatzen dute, eta iritsi zaizkigun faltsifikazio onenak bertsoen erdia besterik ez ditu, 1.500 inguru; kaxkarrenak, 100 baino ez.

Baina memorizatzaileen izurria ez zen berria; aitzitik, antzerkia bezain zaharra dela esan genezake. Antzinako Grezian memorizatzaile bikainak izan ziren, antzezlanen emanaldiak urriagoak ziren garaian, ehunka bertso gogoan jasotzeko gai baitziren. Gutxitan transkribatzen zituzten antzezlanak; gehienetan memorian gordetzen zituzten, gero kaleetan errezitatzeko. Egia da jarduera horren erruz egileari ikuslegoaren zati bat kentzen ziotela, baina obrak antzeztokietara joateko aukerarik ez zuten herritarrengana helarazteko bide bat ere bazen.

Piraten artean egilearen edo jabearen baimena zuten kortsarioak ere baziren. Haien lana funtsezkoa izan zen, adibidez, Korana gordetzeko. Hasieran, Mahomak ahoz azaldu zien bere jarraitzaileei musulmanen liburu sakratua izango zena. Baina bera hil ondoren Koranaren edukiak gal zitezkeela jakitun, hainbat memorizatzaile aukeratu zituen sura guztiak buruz ikas zitzaten eta Koranaren eskribau ofizial izan zitezen. Muad ibn Chabal, Ubayy ibn Kab eta Zayd ibn Tabit izan ziren, besteak beste, Mahomak izendatutako memorizatzaile taldeko kideak. Koranaren aginduak palmera hostoetan, harrietan edo ganbeluen omoplatoetan idatzi ohi zituzten. 633. urtean, Aqrabako guduan, Mahomaren ia memorizatzaile guztiak hil ziren. Orduan, Abu Bakr kalifak gudutik bizirik irtetea lortu zuten memorizatzaile apurrak bildu zituen eta, Zayd ibn Tabiten ardurapean, Koranaren sura guztiak liburu bakarrean idatziz jasotzeko agindua eman zuen, betiko gal ez zitezen.


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